The season premiere of the new-formula Glee (“Now with extra added smirks!”) had an advance push from the preview clips Fox released of Kate Hudson going hard-body Bob Fosse on us; if she didn’t quite inspire the curiosity Gwyneth Paltrow initially did (after all, the stakes were greater: Would Gwynnie Get Down?) (answer: affirmative), Hudson was certainly more of a draw than, say, John Stamos was. Plus, Hudson’s character NYADA dance teacher Cassandra July was there to do what some of us take, yes, glee in witnessing: Anyone who attempts to demolish the Kryptonite-hard ego of Lea Michele’s Rachel. READ FULL STORY
Tag: Glee (1-10 of 37)
You gotta hand it to Smash: This series is so willing to portray the making of a Broadway musical so realistically — well, in a heightened, exaggerated form of realism, in which a music mogul thinks he can make a pop star of Katharine McPhee’s Karen and hunky bartenders fall for Anjelica Huston’s Eileen — that the show is willing to present the workshop version of the Broadway musical we and they are supposed be invested in, and make it a very rocky, often mediocre creation. Unlike Glee, in which everyone snaps into place with perfect pitch and nary a false step, Smash offers carefully placed stumbles and lyrics rhymed with intentional poorness. The hell with the ratings a boffo showcase might attract: bravo, Smash! READ FULL STORY
To say that GCB takes the Desperate Housewives template and cranks up the crazy is understating the brisk looniness of this enterprise, which launched Sunday night. The new series, starring Kristen Chenoweth, Annie Potts, and a host of high-haired, chest-raised costars, tries to cross the final-season Housewives with Dallas, tossing in a degree of cam that makes La Cage aux Folles look like a model of restraint. READ FULL STORY
Smash premiered on Monday night right after the most agreeable lead-in NBC could possibly muster: The Voice, thus having musical-reality television lead into musical-fiction television. There’s been a lot of TV-industry reporting about how many millions of dollars NBC has spent promoting Smash, and I’ve done some speculating of my own about whether or not Smash will become a ratings hit. But let’s put all the biz stuff aside and concentrate on the show itself: Did it deliver? READ FULL STORY
Smash is an admirable risk for a network television series. Given that the size of the Broadway-show audience, if every ticket-holder tuned in, would probably fit into the bodice of The Voice‘s Christina Aguilera, the notion of a weekly show chronicling the behind-the-scenes creation of a Great White Way musical about Marilyn Monroe is gutsy. And optimistic. And, let’s face it, Glee-fully, exhilaratingly over-reaching. READ FULL STORY
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